Os Palhaços

A sentimental journey shot in France and Italy, searching the trace of the great clowns of yesterday, by one of the few filmmakers that showed his love for these performers in his own films, an affection that dates from a childhood experience in his hometown Rimini, which is lovingly recreated in the dream-like opening scene. Made for Italian television, the film shows Fellini meeting a few survivors, talking to clowns' relatives and friends, visiting white clowns, and recreating the style of the old art, as the funeral of a famous clown, that closes the documentary. He even finds and films Anita Ekberg, the star of his 1960 masterpiece, "La dolce vita" (I always thought he saw her a bit as a joke); but what I find curious is that his film crew seems to be integrated by a clownish crowd without make-up. Nino Rota contributed one of his most cheerful scores.

This is an odd vanity project from the famed Italian director, Federico Fellini. It's quite different from his usual films--even though his flashbacks to his youth permeate the film like "Roma" and "Amarcord". This is because of general recollections of childhood, this one specifically is about clowns--something which seems like an obsession in this film. It's shot semi-documentary style and is quite episodic--showing various clowns around Europe and his recollections. In addition, often parallels to the clowns are given--real life situations and people who remind him of the clowns. If you are looking for anything more, then you're out of luck. And, it's a true testament to his fans that such a film STILL is highly regarded. As for me, I thought it was pretty boring and pointless. Sorry...but I just didn't see a lot of reason to watch this one except so that I could one day say I've seen all of Fellini's films (and I am darn close now).

THE CLOWNS was originally made for Italy's RAI-TV. In this captivating movie director Federico Fellini, who also appears on screen as himself, portrays man's inborn fascination with the circus arena. The boy who escapes from his bedroom at night to sneak into the provincial circus is a figure of Fellini himself as a boy. Fellini spends time exploring some of Europe's great circuses and their best acts while unfolding once again his recurring theme of life itself as a quasi-liturgical circus-procession. All of Fellini's themes are here in pure distillation. THE CLOWNS is a documentary, a reminiscence, and poetry all at once. In the first part Fellini relates a history of the world of clowns and their unique brand of frolic-through tears. We see the austere Pierrot and his servant clown Auguste, the Fratellini family, the film clown Pierre Etaix, and are treated to Anita Ekberg buying a tiger at an Italian circus and a score of other outstanding episodes. The finale, with Fellini in view again directing the proceedings, like Guido in "8 1/2", is a melancholy clown funeral. Composer Nino Rota provides another appealing score as with so many Fellini films. This is a very accessible and delightful movie and stands beside Cecil B.DeMille's THE GREATEST SHOW ON EARTH as among the best in the genre.

This little film tends to stand quietly in the shadows of the great director's other works. It cannot compare to 8 1/2, or La Dolce Vita, but it carries a remarkable quality to it that isn't quite like his other films.

Fellini's circus theme is used here to a remarkable effect. There is a sadness that creeps in and around the film, like a cat watching a canary. It is unlike his other works, not as daring or bold, but worth some consideration.

The Clowns might be the most wonderfully experimental of the obscure Federico Fellini films. Now depressingly only available on shoddy old videos from the 1980s (where, unintentionally on Fellini's part, the film skips a couple of times in jump cuts), it remains a testament to one of the director's life-long obsessions: the depravity, the joy, the delirium, and the choreography of the circus, particularly clowns in this case.

He opens the film with a particular image- a child watches outside his window as the circus tent is erected up, as if it were rising up from the ground like a tree- and then goes head-first into a circus performance. While it shouldn't be very funny, somehow it is, extremely so, in all the silliest ways that are partly Fellini in the timing of the shots and how buoyant the camera goes, and in the Nino Rota score (which, by the way, borrows from all the standards of circus fare, and as self-referentiality is the name of the game from 8 1/2 in the Wagner choice), and partly from the clowns themselves.

After a quick kaleidoscope view of a neighborhood with certain citizens, like a pool-hall man who's kind except for when he goes into a crazy state once in a while and acts like he's in war, Fellini changes gears, though not exactly. Like Herzog, and just as personally, we see a form of a documentary take shape, and not really at the same time. Fellini seems to be making a documentary on clowns, the history of them, interviews with the old masters from France and Italy and Germany, and visiting what remains of the great old sites and rare silent film reels. But then we see the camera is shooting *them* (them being the crew) shooting the documentary, and not in a usual documentary way: it's still a 'Fellini' film, meaning it has the self-indulgence of Fellini's narration, the dialog sometimes colliding into what the last person said, and in sweet gliding camera movements that seem to be flying on air.

What happens from this is that what could be just sheer indulgent flair turns into a creatively self-conscious work of personal film-making; we all know how wrapped up Fellini is in all of this, and without calling too much attention to it he's relaxed and humorous about it. See the great moment, in the midst of the climax, when he cuts to himself, being interviewed by some journalist, asked what is the 'message' he wants to convey with this film, and immediately after this buckets fall on Fellini and the journalists' heads. And as Fellini is technically doing a documentary, we get a superb whirlwind of showing and telling on the part of the clowns. We see them at how they work, with tigers and with big props, the midgets, the eternal pranksters, and how they look back on their times (one says he just can't look back anymore).

But what's most brilliant is how Fellini kind of answers his own hypothesis, which he comes to after viewing an all-too-short silent film of the clown Remy- that the circus is dead- by having a twenty-five minute long sequence where clowns deal with death, the widows, the resurrection, and just pure celebration. By the time it reaches its apex we're in the midst of one of the grandest of Fellini's orchestrated acts of abstract art, where clowns are running amok, the 'special effects' are going to a point (won't that 'horse' get in place!), and Rota's music seems to be going so fast one might see him off-screen with Fellini as his hands are on fire.

So why not a masterpiece? It is, in a sense, great more as a minor work than as something towering in the cinematic consciousness like La Dolce Vita or 8 1/2. It's also a little difficult to judge it as it now stands in its deteriorated state, as ten seconds of film in different spots seems to be jettisoned. But it is essential viewing for any Fellini fan, and for anyone who loves the circus as much as he does. And for someone like myself, who occasionally finds clowns a little too creepy and wacky for their own good, Fellini's contribution, however brief it is in 93 minutes, is unequivocal.